What is it about dancing with an exquisite piece of silk that transforms dancers into other worldly beings? This question crosses my mind whenever I watch a dancer perform with a veil. I recently had the opportunity to ponder it again at the Master Sunday Series workshop featuring Almaazah on September 17th. I've always admired Almaazah's veil work. Her grace and ease with the veil is effortless, leaving you unsure of where the veil ends and she begins. So, I hustled down to Diva Dance; a delightful new studio space, I might add; to indulge in that transcendental experience called veil.

   Following a thorough warm-up, Almaazah began the day with a discussion of the physical effects of different veils. Using beaded, silk gauze, and the ever-popular Bonnie's silk veils as examples, she demonstrated how distinctly veils of different weight would move through the air. In terms of veil technique, Almaazah divides it into three categories: decorative, internal, and functional. Decorative veil work creates an array of visual effects as extensions of the body. Airplane turns, tent turns, and veil flips are only a few of the varied techniques Almaazah shared with us.

   Internal veil technique, according to Almaazah, relies on "how your body and the veil relate to the space around you." In contrast to learning the specificity of decorative veil movement, our venture into the internal opened up many possibilities for creative, if not playful, self-expression. Almaazah stresses the importance of moving through various planes, allowing yourself to freely explore the space around you with the veil. We were encouraged to let the veil move above, below, and all around us. I especially enjoyed the high drama of walking on my veil; very femme fatale indeed!

   We also initiated veil movement by leading with a part of our body, such as our hip, shoulder, or chest. And in reverse, we allowed the veil to follow the same part of the body. The possibilities were endless. Almaazah credited Elena Lentini with a particularly lovely body wrapping sequence. While turning, Almaazah delicately wrapped the veil around herself toga-fashion. She continued to dance while the tightly wrapped veil echoed every isolation and undulation. The progression from expansive turns to cocooned subtlety was striking.

   As the name implies, functional veil technique uses the veil to serve a purpose, such as framing the body or easing transitions. Almaazah shared a particularly interesting example of this functionality by twirling her veil into a tight rope and using it as a cane. To come out of this clever effect, she simply twirled the "cane", allowing the veil to unfurl in all of its glory. We also explored how to manipulate the veil to create more seamless musical transitions, such as releasing the veil into dramatic arcs or trailing the veil behind you at the end of a piece.

   As a whole, the workshop was well organized and material-rich, offering a nice balance between structured break down of technique and freedom of movement. Almaazah's teaching style was clear and supportive, combining an appreciation of both the nuts and bolts of technique and the more esoteric aspects of veil work. Overall, the Master Sunday Series is a great solution for those of us who are short on time, cash, and perhaps even attention span. These four-hour master classes are short, sweet and substantive, and offer an opportunity to study with "A" list instructors. Rick Fink welcomes Miabella on Oct. 22nd from 1:00 to 5:00p.m. at Diva Dance, as the final featured instructor in this season's series. Don't miss it!